Stik (British 1979-) ‘Standing Figure (Book) (Blue, Orange, Red, Grey, Teal, Yellow)’, 2015, a complete set of 6 offset lithograph in colours on wove paper, all signed in black ink; sheets: 73 x 24cm each (6)ARR sheets: 73 x 24cm each (6) Teal:In very good condition No tears or creases to the sheet Minor wear to upper edge and upper left hand edge of the sheet, visible upon close inspectionBlue:In good condition No knocks or tears to the sheet Minor handling creases to the sheet and minor creasing to the right hand corners Light markings to the upper edge of the sheet, visible upon close inspectionYellow:In very good condition No knocks or tears to the sheet Minor markings to the upper/lower edge of the sheet and one small mark on the figures body Minor wear to the left hand corners of the sheet, visible upon close inspection Red:In very good condition No visible knocks or tears to the sheet Minor markings to the upper/lower edges of the sheet, visible upon close inspection Some very light handling creases and minor crease to upper left hand cornerGrey:In good condition No knocks or tears to the sheet Some handling creases to the sheet and minor crease to upper corners Minor marking to the upper right hand corner of the sheetOrange:In very good condition No knocks, tears or creases Very minor wear to upper right hand edge of the sheet, visible upon close inspectionAll sheets have three horizontal folds, as originally issued All works have been stored folded inside their accompanying copy of the 'Stik' book.
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James McQueen (British 1977-), 'If You Ever Leave Me I'm Coming With You', 2017, unique mixed media on paper, signed, dated, and inscribed HF1 in pencil; sheet: 137 x 101.5cmARR sheet: 137 x 101.5cm In very good/artists condition No tears or creases to the sheet Very minor wear to the upper left hand corner and to the left hand/upper right hand extreme edges of the sheet, visible upon very close inspection There are markings to the sheet verso, however these are from the time of production and are not considered damage There is some light waving to the sheet, however this is due to the materials used and is not considered damage This work has been stored flat and has not been framed.
Andy Warhol (American 1928-1987), 'Marilyn (Invitation)', 1981, offset lithograph in colours on wove paper, signed in black ink, from an unknown edition size, with the original invitation text to the overlap, printed by Colour Editions Inc., published by Castelli Gallery; sheet: 17.7 x 17.7cm (Framed) sheet: 17.7 x 17.7cm (Framed) In good condition No knocks or tears to the sheet Extremely minor creasing in sections to the edges of the sheet, visible upon very close inspection Minor 'edgewear' to the extreme edges, due to the age of the work Markings to the inside left of the invitation and minor scratches verso. One scratch can be seen to the cheek area, this is visible in raking light Framed in a black frame with a black mount This work has been inspected inside and out of the frame.
Tracey Emin (British 1963-), 'The Kiss', 2011, polymer gravure etching on paper, signed and numbered from an edition of 1000 in pencil; sheet: 34 x 31cmARR pencil; sheet: 34 x 31cm In good condition No visible knocks or tears to the sheet Very light waving/crease to the sheet, visible in raking light There are some minor handling markings to the sheets border, visible upon close inspection This work has been framed in a gold frame and float mounted, leaving all corners and edges of the sheet visible This work has not been examined outside of the frame.
Banksy (British 1974-), ‘Flag (Silver)’, 2006, screenprint on silver cheomalux paper, numbered from an edition of 1000 in black pen verso, published by Pictures On Walls; sheet: 50 x 70cm (Framed)ARRProvenance: This work is accompanied by a Pest Control Certificate Of Authenticity. sheet: 50 x 70cm (Framed) Provenance: This work is accompanied by a Pest Control Certificate Of Authenticity. In good condition No visible tears to the sheet Some minor scratches shown to the black background of the sheet, visible upon close inspection Minor markings to the left hand side and upper right hand section of the sheet There is some wear shown around the edges of the sheet and some markings around the grey border Minor crease to the lower middle edge of the sheet and to the right of the main image There is some light waving/creasing to the sheet, visible in raking light This work has been framed in a black frame with a black mount and mylar corners have been used This work has been examined inside and outside of the frame.Provenance: This work is accompanied by a Pest Control Certificate Of Authenticity.
Schoony (British 1974-), 'Bruiser', 2023, spraypaint on board, signed and dated verso, board; 59.5 x 42 cmboard; 59.5 x 42 cmIn very good/artists condition No knocks, tears or creases to the board Some very light markings to the background and one small indentation to the board verso, visible upon close inspection This work has been stored flat and has not been framed.
Stik (British 1979-), 'Holding Hands (Orange)', 2020, offset lithograph in colours on wove paper, signed in black ink; sheet: 50 x 50cmARR sheet: 50 x 50cm In very good condition No visible knocks or tears to the sheet There are some very light handling creases to the sheet and some markings verso, visible upon close inspection One horizontal and one vertical fold to the sheet, as originally issued This work has been stored flat and is accompanied by its copy of Hackney Today.
Stik (British 1979-), 'Holding Hands (Blue)', 2020, offset lithograph in colours on wove paper, signed in black ink, sheet; 50 x 50 cmARR sheet; 50 x 50 cm In good condition No knocks or tears to the sheet Minor handling creases to the sheet, visible in raking light Minor markings verso, visible upon close inspection One horizontal and one vertical fold to the sheet, as originally issued This work has been stored flat and has not been framed.
Nick Smith (British), 'Simpsons Couch', 2020, Giclee with Screenprinted varnish on 310gsm Canson Rag Photographique paper, signed, dated, and numbered from an edition of 99 in pencil, published by Rhodes Contemporary; sheet: 64 x 79.5cmARR sheet: 64 x 79.5cm In very good condition No knocks or tears to the sheet Minor creasing to the lower section of the sheets white border and very light marking to the upper edge, visible upon close inspection Deckled edges in good condition This work has been stored flat and has not been framed.
Andy Warhol (American 1928-1987), 'A Whole Stocking Full of Good Wishes', 1956, offset lithograph in red on wove paper, bearing the ink stamps of the Andy Warhol Foundation for the Visual Arts inc. verso, annotated with the foundation number PM 16.0360 verso: 59.5 x 46cm inc frame59.5 x 46cm inc frameIn very good condition No visible knocks or tears to the sheet Minor crease to the right hand section of the sheet, and some minor wear/creasing to the corners of the sheetThere is some minor wear to the left hand edge of the sheet and very light marking can be seen down the left and right edges of the sheetThis work has been framed in a black frame and float mounted, leaving all corners and edges of the sheet visible This work has not been examined outside of the frame.
Stik (British 1979-), 'Don't Panic', 2013, offset lithograph in colours on wove paper, signed in black ink; sheet: 60 x 42cmARR sheet: 60 x 42cm In very good condition No knocks, tears or creases to the sheet Very light markings to the white border, visible upon close inspection Two horizontal and one vertical fold to the sheet, as originally issued This work has been stored flat and has not been framed.
Stik (British 1979-), 'Holding Hands (Yellow)', 2020, offset lithograph in colours on wove paper, signed in black ink, sheet; 50 x 50 cmARR sheet; 50 x 50 cm In good condition No knocks or tears to the sheet Minor handling creases to the sheet, visible in raking light Minor markings verso, visible upon close inspection One horizontal and one vertical fold to the sheet, as originally issued This work has been stored flat and has not been framed.
Martin Whatson (Norwegian 1984-), 'Dancer (Hand Finished)', 2022, Woodblock Print and Hand Drawing with paint on Japanese Paper called “Washi”, signed, dated and numbered from an edition of 150 in pencil, sheet; 45 x 30 cmsheet; 45 x 30 cmIn very good/artists condition No knocks or tears to the sheet One light crease to the lower left hand edge of the sheet and some minor handling creases, visible upon close inspection and potentially due to the nature of material This work has been stored flat and has not been framed.
Banksy (British 1974-), 'Sale Ends (V2)', 2017, screenprint in colours on wove paper, signed and numbered from an edition of 500 in pencil, published by Pictures On Walls; sheet: 56 x 76cmARRProvenance: This work is accompanied by a Pest Control Certificate Of Authenticity. sheet: 56 x 76cm Provenance: This work is accompanied by a Pest Control Certificate Of Authenticity. In very good condition No knocks, tears or creases to the sheet Very light line markings/slight discolouration around the border of the sheet, due to previous framing One very minor mark to the upper left hand section of the sheet, visible upon very close inspection Extremely minor markings to the sheet verso, visible upon very close inspection Deckled edges in good condition Two mounting tabs attached to the upper edge of the sheet This work has been examined inside and outside of the frame.Provenance: This work is accompanied by a Pest Control Certificate Of Authenticity.
Jonas Wood (American 1977-), ‘Large Shelf Still Life Poster’, 2017, offset lithograph in colours on wove paper, published by Voorlinden Museum; sheet: 59.5 x 59.5cmsheet: 59.5 x 59.5cmIn very good condition No knocks or tears to the sheet Some very light waving to the sheet, due to rolling This work has been stored rolled and has not been framed.
Takashi Murakami (Japanese 1962-), 'An Homage To Yves Klein, Multicolor B', 2012, offset lithograph in colours on wove paper, signed and numbered from an edition of 300 in ink, published by Kaikai Kiki Co; sheet; sheet: 74 x 53cmsheet: 74 x 53cmIn very good conditionNo knocks, tears or creases to the sheetMinor waving to the sheet, visible verso in raking light This work has been stored flat and has not been framed.
Mr Brainwash (French 1966-), 'Reach For Love', 2022, silkscreen in colours on wove paper, signed and numbered from an edition of 395 in pencil; sheet: 55.9cm x 76.2cm (Framed)ARR sheet: 55.9cm x 76.2cm (Framed) Charity Statement:Fundacja Ziemniaki i is a not-for-profit cultural organisation encouraging and nurturing early career artists, designers, craftspeople, writers and curators from Central and Eastern Europe.We believe that there is no future without culture. That’s why we strive to improve access, visibility, and working conditions in the creative arts and encourage their positive role in an open and free society.With your support, we can expand our reach and offer support to more artists and cultural workers. Together, we can sustain a creative space for learning and experimentation that tackles the most critical problems of our time.This piece has been donated by Clarendon Fine Art and all proceeds will be donated to the charity. In very good condition No visible knocks or tears to the sheet One very light crease to the upper left hand corner of the sheet and one very small crease to the lower right hand section of the border, visible upon close inspection Deckled edges in good condition This work has been framed in a black frame by the publisher to the artists specification and has been float mounted, leaving all corners and edges of the sheet visible This work has not been examined outside of the frame.
Banksy (British 1974-), 'Rude Copper', 2002, screenprint on wove paper, signed and numbered from an edition of 250 in pencil, published by Pictures On Walls; sheet: 57 x 41cmARR sheet: 57 x 41cm Provenance: This work is accompanied by a Pest Control Certificate Of Authenticity. In good condition No visible tears to the sheet There are some minor handling creases/light markings to the black sections of the sheet, most prominent to the lower right hand section Minor handling creases to the white background of the sheet, visible recto and verso There is some minor wear shown to the upper and lower sections of the right hand edge of the sheet, visible upon close inspection This work has been attached to a black mount at the upper edge of the sheet verso This work has been examined inside and outside of the mount. Provenance: This work is accompanied by a Pest Control Certificate Of Authenticity.
David Hockney (British 1937-), 'Travels with Pen, Pencil and Ink Drawings and Print', 1980, Tate Gallery Exhibition Poster, signed in pencil; 76.5 x 51cm inc frameARR 76.5 x 51cm inc frame In good condition No visible knocks or tears to the sheet Light creasing to the upper edge and upper right hand section of the sheet, visible in raking light Some potential markings to background of sheet, visible upon close inspection This work has been framed in a gold frame This work has not been examined outside of the frame.
Nick Smith (British), 'American Gothic', 2020, giclee with screenprinted varnish on 310 gsm Canson Rag Photographique paper, signed, dated, and numbered from an edition of 150 in pencil, published by Rhodes Contemporary; sheet: 84 x 70cm (framed)ARR sheet: 84 x 70cm In good condition No visible knocks or tears to the sheet Minor crease to the lower right hand corner of the sheet, visible upon close inspections There are some light markings in sections around the sheets white border, most prominent to upper corners Deckled edges in good condition This work has been framed in a lime green frame and float mounted, leaving all corners and edges of the sheet visible This work has not been examined outside of the frame.
Banksy (British 1974-), 'Barcode', 2003, screenprint on wove paper, numbered from an edition of 600 in pencil, rubberstamped 'Banksy' in Red Ink, published by Pictures On Walls; sheet: 50 x 70cm (Framed)ARRProvenance: This work is accompanied by a Pest Control Certificate Of Authenticity. sheet: 50 x 70cm Provenance: This work is accompanied by a Pest Control Certificate Of Authenticity. In very good condition No visible knocks or tears to the sheet Very minor imperfection to the lower right hand edge and lower left hand corner of the sheet, visible upon very close inspection Potential minor markings to the background sheet recto and verso, likely from the time of production Slight waving to the sheet and very light crease verso, visible in raking light Minor colour change around the border of the sheet due to framing This work has been framed with a mount using two mounting tabs, attached to the upper edge of the sheet This work has been examined inside and outside of the frame.
Set of four velvet tefillin pouches. Each has embroidered Hebrew text, which reads Tefillin and exhibits either Stars of David or floral designs. Larger navy blue and black pouches have modern nylon interiors with plastic zippers. The older pouches have muslin or linen liners; the light blue colored pouch has a metal zipper; the burgundy colored pouch has a gold fringe and no zipper. These pouches were created to contain Tefillin, two small boxes that hold parchment Hebrew prayer scrolls meant to be worn by Jewish men above the age of thirteen during morning prayers. The largest pouch measures 8.5"L x 9.5"W. Condition: Age related wear and discoloration. Tefillin not included.
A whimsical small Christmas tree in a peridot crystal with red, clear, and white crystal accents. A light golden crystal star on top, and a silver-tone metal base on the bottom. Swarovski marked. This item has its original box: 5"L x 4.75"W x 3.25"H. Artist: Eva Maria RiedIssued: 2011-2012Dimensions: 1.75"W x 3.25"HManufacturer: SwarovskiCountry of Origin: AustriaCondition: Age related wear.
Introducing three intricately decorated plates, all crafted in England, with two pieces hailing from Crown Ducal ware and the third from Lord Nelson ware. The largest plate showcases stunning purple, red, and green flowers atop an octagonal design, measuring 8.5"L x 9"W x 0.5"H. The smaller plate features cream-colored flowers with light blue centers against a burgundy background on a square plate, measuring 6"L x 6.25"W x 0.25"H. Lastly, a charming small bowl adorned with a dot-patterned background and decorated with pink, blue, and yellow flowers, measures 1.25"H x 5.75" in diameter. Issued: 20th centuryCondition: Age related wear.
Part of the In the Secret Garden group, now part of the Brilliant Butterflies. Created from light peridot (green) crystal with beautiful facets to catch the light. Swarovski backstamp. 9100 000 026. This item has its original box: 4.25"L x 4.25"W x 2.25"H. This item has a round mirror base included. Artist: Elke KumarIssued: 2006 - 2008Dimensions: 2.75"L x 2.25"W x 2"HManufacturer: SwarovskiCountry of Origin: AustriaCondition: Age related wear.
Beautiful light sapphire crystal petals and white opal blue crystal leaf. A heart-shaped pistil in jet metallic blue. The flower rocks on a white opal base. Swarovski marked. This item has its original box: 3.75"L x 3.75"W x 2.5"H. Issued: 2010-2011Dimensions: 1.25"W x 2.5"HManufacturer: SwarovskiCountry of Origin: AustriaCondition: Age related wear.
Samuel Melton Fisher, RA, RWA, PS (British, 1859-1939)Venetian costume makers signed and dated 'S.Melton Fisher.1888.' (lower right); further signed, titled and inscribed with artist's address 'Venetian costume makers/S. Melton Fisher/3575. Calle del Cristo/S.Angelo. Venice' (on artist's label attached to reverse)oil on canvas103.5 x 135cm (40 3/4 x 53 1/8in).Footnotes:ProvenanceAnon. sale, Sotheby's, London, 6 November 1996, lot 325. Private collection, UK. ExhibitedLondon, Royal Academy, 1888, no. 583.LiteratureArt Journal, 1888, p. 128. H. Blackburn (ed.), Academy Notes, 1888, pp. 12 and 77 (sketch illustrated).The Graphic, vol. 38, July-December 1888, illustrated.Alfred Lys Baldry, The Paintings of S. Melton Fisher in The Studio, vol. 42, 1908, pp. 176-181. Christopher Wood, The Dictionary of Victorian Painters, Woodbridge, 1995, p. 171.'The subjects he chose were characteristic of modern Venetian life; his canvases were records of his observation of the people among whom he found himself, and by their brilliant reality and clever statements of picturesque facts gained the approval of everyone who was qualified to judge his work' (Alfred Lys Baldry, The Studio, 1908)Fisher studied at the Lambeth School of Art and Royal Academy Schools between 1876 and 1881, winning a gold medal and a travelling scholarship; travelling to Paris, he studied with Jules Bonnaffé. His work In Realms of Fancy was purchased by the Chantrey Bequest in 1898 and later in his life he returned to portrait and figure painting, possibly for financial reasons.Venice in the late 1800s was a popular destination for many artists; alongside Fisher were artists such as John Singer Sargent, James Abbott McNeill Whistler, Henry Woods and William Logsdail. The unusual beauty and uniqueness of the city was enchanting and for many artists, Venice was restorative and transformative for their practice. Artists in Venice would often focus either on the working-class Venetians engaged in daily activities, which provided a wealth of subject matter, or the complex play of light on the water, architecture and canal views or narrow streets. In the present lot Fisher has chosen to depict a group of women at work making costumes presumably in preparation for a festival. This subject provides the artist with a perfect opportunity to celebrate the light and shade in the room and the rich texture of the materials. The square brushwork is testament to the influence of Bastein Lepage and his British counterparts, in particular Stanhope Forbes and Albert Chevallier Tayler who had travelled to Venice the year before and had first met Fisher in Paris in 1881.For further information on this lot please visit Bonhams.com
Sir Walter Westley Russell, RA, RWS, NEAC (British, 1867-1949)The seaside signed 'WRussell' (lower left)oil on canvas93 x 154.4cm (36 5/8 x 60 13/16in).Footnotes:ProvenancePrivate collection, UK.ExhibitedDunedin, New Zealand & South Seas International Exhibition, 1925-6, no. 25.Sir Walter Westley Russell was born at Forest Gate, Essex on 31 May 1867, third son of William Henry Russell, an artist and bookbinder, and his wife Charlotte Emily née Bradley (1838-1904). He studied at the Westminster School of Art under Frederick Brown (1851-1941) but left in about 1891 when he worked as an illustrator and etcher. He was a teacher and then Assistant Professor at the Slade School of Fine Art between 1895–1927, but served in the Royal Engineers between 1916–1919 working on camouflage. A painter of portraits, landscapes and interiors, he began exhibiting at the New English Art Club in 1893 and became a member in 1895. He exhibited at the Royal Academy from 1898 and had a solo exhibition at Goupil Galleries in 1910. Russell was also a member of the International Society from 1906, the National Portrait Society 1910, and the Royal Society of Painters in Water Colours from 1930. He was elected an Associate of the Royal Academy in April 1920, and became a full Academician in February 1926 and was Keeper from 1927-1942. He lived in Chelsea but often worked in Yorkshire, Sussex and Norfolk.An interesting aside is that Russell also took part in the 1928 Olympic Games in Amsterdam where forty-nine artists from twelve countries submitted work. The Gold medal was awarded to Isaac Israëls with Laura Knight being awarded the silver medal for Boxing in Camp (The Light Heavy-weights). The present scene is very similar to On the Sands (undated, in the collection of Gallery Oldham) with numerous people relaxing on the beach on a summers day. In the present lot, groups of figures are engaged in conversation or languishing in the warm sun. The composition is punctuated with bold areas of colour which stand out against the pebbles on the beach and lead the viewer into the scene.The work was exhibited at The New Zealand and South Seas International Exhibition in Dunedin, New Zealand which ran from 17 November 1925 until 1 May 1926. It was the third such exhibition held in Dunedin, with earlier exhibitions in 1865 and 1889. The 1925 exhibition had over three million visitors.Russell was made a Companion of the Royal Victorian Order in 1931 and knighted on 10 July 1935. He died at 4 Pembroke Road, Kensington, London on 16 April 1949 and a memorial exhibition was held at the Beaux Arts Gallery in 1950.For further information on this lot please visit Bonhams.com
![LONDON - EVELYN, THE GREAT FIRE AND POLLUTIONComposite volume, containing the following plans and works:[KITCHIN (THOMAS)] A](https://cdn.globalauctionplatform.com/0bd63aaa-74ab-480d-abc7-b12c00be1b45/2c6db093-f12c-4fa4-aa50-b12c00c12d0e/468x382.jpg)
LONDON - EVELYN, THE GREAT FIRE AND POLLUTIONComposite volume, containing the following plans and works:[KITCHIN (THOMAS)] A New and Correct plan of the Cities of London, Westminster, and Borough of Southwark... to the Present Year 1781..., engraved folding map in 12 sections, extending from Islington to Newington Butts, and from Stepney to Hyde Park, with tables of buildings, parishes and churches in corners, heading slightly cropped, one or two tears at folds [Howgego 163 (4)], 448 x 725mm., R. Sayer & J. Bennett, 1781HOLLAR (WENCESLAS) A True and Exact Prospect of the Famous Citty of London; Another Prospect of the Sayd Citty Taken... After the Sad Calamitie and Destruction by Fire, engraved folding panorama showing London before and after the fire, single tear affecting image but without loss, 230 x 723mm. 1666 [but John Overton, 1669-1707, state iii][EVELYN (JOHN) and CHRISTOPHER WREN] First Plate. Londinum redivivum. Presented by me to His Majesty, a Week after the Conflagration... J.E.; Another Projection; Second Plate. A Plan of London... described by J. Evelyn; A Plan of the City of London, after the great Fire... according to the design and proposal of Sir Christopher Wren, together 2 folding engraved plans on 4 sheets, Society of Antiquaries, 1748FITZ-STEPHEN (WILLIAM) Description of the City of London, newly translated from the Latin [by Samuel Pegge], translator's name and biographical note added in ink on title-page, B. White, 1772E[VELYN] (J[OHN]] Fumifugium: or the Inconvenience of the Aer, and Smoake of London Dissipated, editor's name ('Thomas White Esq. F.R.S.') supplied in ink on title, Re-printed for B. White, 1772together 7 items bound in 1 vol., including (at front) the section on London extracted from Lysons' 'Magna Britannia', occasional light soiling, several library stamps to Lysons extract, on reverse of one of the Evelyn plans and in the upper margin of the 'To the Reader' leaf in the last work, contemporary calf, rebacked, 4to, [eighteenth-century]Footnotes:A curious sammelband of works and plans relating to London, several by John Evelyn including the second edition of his work on pollution in the city and the Overton printing of Hollar's panorama.Provenance: Benjamin White, Lambeth (publisher and brother of Gilbert White), circular book label dated 1777; John White, Selborne, bookplate; George Soaper (of Guildford, who purchased Gilbert White's diaries and papers from the family in 1843), bookplate on fly-leaf; Free Public Library, Southampton, ink stamps.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
![WILDE (OSCAR)The Importance of Being Earnest. A Trivial Comedy for Serious People, [LIMITED TO 1000 COPIES], this copy unnum](https://cdn.globalauctionplatform.com/0bd63aaa-74ab-480d-abc7-b12c00be1b45/fe0b65c5-d1e4-477b-9448-b12c00c14067/468x382.jpg)
WILDE (OSCAR)The Importance of Being Earnest. A Trivial Comedy for Serious People, [LIMITED TO 1000 COPIES], this copy unnumbered, half-title, publisher's lilac cloth gilt designed by Charles Shannon, light soiling and fading [Mason 381], small 4to, Leonard Smithers and Co., 1899Footnotes:Provenance: Panos Gratsos (1909-1990), bookplate.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
CARTWRIGHT (JOSEPH)Selections of the Costume of Albania and Greece, with Explanatory Quotations from the Poems of Lord Byron and Gally Knight. Including a Highly Finished Portrait of Ali Pacha, FIRST EDITION, 12 hand-coloured aquatint plates by R. Havell after Cartwright (dated February-June 1822, one watermarked 'J. Whatman 1821'), light off-setting onto blank versos, contemporary half morocco over boards, gilt morocco lettering label ('Greek Costumes') on upper cover, worn with some loss to spine and corners, label scuffed [Colas 544; Tooley 131; cf. Abbey, Travel 134, note; not in Atabey, Blackmer or Lipperheide], folio (460 x 310mm.), R. Havell, [1822]Footnotes:VERY RARE COMPLETE COPY IN THE ORIGINAL BINDING - only one other complete copy traced at auction in the past fifty years.Known primarily for his marine paintings Joseph Cartwright was Paymaster-General of the British forces in Corfu during 1816-1820, publishing his Views in the Ionian Islands in 1821 and this work on his return to Britain in 1822. Published during the campaign for Greek Independence, eight of the plates are accompanied by quotations from works by Byron, including Childe Harold, The Giaour, and Don Juan.Provenance: Charles Richard Fox, ink inscription 'Charles R. Fox 1822', with price '2£-10' on upper cover. Fox (1796–1873) was an army officer, member of the Society of Dilettanti and numismatist whose important collection of 11,500 Greek coins was purchased after his death by the Royal Museum in Berlin. His early interest in coin collecting was strengthened by his travels in Greece and Turkey in 1820 while aide-de-camp to Sir Frederick Adam at Corfu, at which time he would possibly have become acquainted with Joseph Cartwright.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
![WILDE (OSCAR)Lady Windermere's Fan. A Play About a Good Woman, FIRST EDITION, [LIMITED TO 500 COPIES], 16-page publisher's c](https://cdn.globalauctionplatform.com/0bd63aaa-74ab-480d-abc7-b12c00be1b45/7ef7c0b4-1e60-4956-8c26-b12c00c135db/468x382.jpg)
WILDE (OSCAR)Lady Windermere's Fan. A Play About a Good Woman, FIRST EDITION, [LIMITED TO 500 COPIES], 16-page publisher's catalogue at end (September 1893), publisher's decorative cloth gilt designed by Charles Shannon, light soiling (spine slightly darker) [Mason 357], small 4to, Elkin Matthews and John Lane, 1893Footnotes:Provenance: Charles Stevens, pencil ownership inscription dated November 1893 on front free endpaper.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
![WILDE (OSCAR)A House of Pomegranates, FIRST EDITION, [LIMITED TO 1000 COPIES], pictorial title, endpapers and other illustra](https://cdn.globalauctionplatform.com/0bd63aaa-74ab-480d-abc7-b12c00be1b45/17350b19-af78-4609-b196-b12c00c14884/468x382.jpg)
WILDE (OSCAR)A House of Pomegranates, FIRST EDITION, [LIMITED TO 1000 COPIES], pictorial title, endpapers and other illustrations by Charles Ricketts, 4 plates by Charles Shannon, pictorial endpapers, light spotting, modern cloth [Mason 347], James R. Osgood, 1891; Lord Arthur Savile's Crime & Other Stories, FIRST EDITION, AMERICAN ISSUE, [500 copies], publisher's decorative cloth [Mason 346], New York, Dodd, Mead and Co., 1891; Epigrams & Aphorisms, NUMBER 31 OF 50 COPIES PRINTED ON JAPAN PAPER, publisher's boards, t.e.g., soiled and rubbed, small loss to foot of spine [Mason 641, ordinary copy only], Boston, John W. Luce, 1905; Poems... Together with his Lecture on the English Renaissance (Now first Published), NUMBER 104 OF 250 COPIES, modern cloth, Paris, [no publisher], 1903; The Portrait of Mr. W.H., NUMBER 60 OF 200 COPIES, small rust stains on half-title and final leaf, publisher's blue printed wrappers [Mason 611], Privately Printed, [c.1904]--For the Love of the King, LIMITED TO 1000 COPIES, on hand-made paper, publisher's white buckram gilt, t.e.g., spine soiled, Methuen, [1922]; Letters after Reading. I. Bernaval, NUMBER 4 OF 23 COPIES, signed by the publisher, 1921; Letters after Reading II. Naples and Paris, NUMBER 1 OF 23 COPIES, signed by the publisher, 1921, VYVYAN HOLLAND'S COPIES signed by him on front free endpapers, contemporary morocco-backed buckram gilt lettered on spine, publisher's wrappers bound in, New York, Paul R. Reynolds--HYDE (H. MONTGOMERY, editor) The Trials of Oscar Wilde, second printing, 16 plates, publisher's cloth, soiled, William Hodge, [1948], 8vo; and the chromolithograph of Oscar Wilde ('Oscar') from Vanity Fair, 1884 (10)This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
ROWLING (J.K.)Harry Potter and the Prisoner of Azkaban, FIRST STATE UNCORRECTED PROOF COPY, SIGNED AND INSCRIBED BY THE AUTHOR 'to my dear old friend Catriona with many thanks. J.K. Rowling' on the dedication leaf, [ONE OF 50 COPIES], sequence of numbers 10 through to 1 and author's name as 'Joanne Rowling' on the verso of the title-page, '? Dedication' printed on dedication leaf, publisher's purple and white wrappers (some fading and a few light abrasions) [Errington AA4(a)], 8vo, Bloomsbury, [1999]Footnotes:VERY RARE INSCRIBED AND SIGNED COPY OF THE FIRST STATE OF THE UNCORRECTED PROOF OF THE PRISONER OF AZKABAN. The bibliography notes that only approximately 50 copies of this first state of the proof were printed. A second issue, in green and white wrappers, followed with slightly altered text in a print run of approximately 250 copies. We have been unable to trace any other signed and inscribed copies of this book. The warmth of this inscription reflects the fact that Rowling and the recipient had known each other from almost the beginning of the Harry Potter journey. Catriona was the children's book buyer for a famous book shop in Edinburgh, advocating the merits of Rowling's first book from the moment she read the uncorrected proof copy of Harry Potter and the Philosopher's Stone in 1997, and met Rowling on several occasions when she visited the shop, first to write in the café, later to sign books or attend events that Catriona helped to organise. Errington notes in the bibliography that these initial 50 copies were 'released to a very select readership, with the publisher expecting to issue the text in a later state to a greater number of readers'. That Catriona was one of these 'select' readers, and that Rowling signed it for her, suggests that her opinion was greatly valued. Provenance: Catriona, the vendor, who from 1995-2000 was the children's book buyer at a famous large Edinburgh book shop. This copy was signed by Rowling at the shop, shortly after publication.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
WILDE (OSCAR)The Ballad of Reading Gaol by C.3.3., FIRST EDITION, ONE OF 800 COPIES ON HAND-MADE PAPER, approximately 30 small 'ticks' in margin in pencil or purple pencil, a few single spots to opening leaves, untrimmed in publisher's white linen-backed cinnamon cloth, spine lettered in gilt, light soiling and spotting [Mason 371], 8vo, Leonard Smithers, 1898This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
MILNE (A.A.)The House at Pooh Corner, NUMBER 161 OF 350 LARGE PAPER COPIES SIGNED BY THE AUTHOR AND ILLUSTRATOR, on hand-made paper, illustrations by E.H. Shepard, untrimmed in publisher's quarter cloth, title label on upper cover, extremities lightly rubbed with a few light spots, dust-jacket (soiled, spine crudely repaired with losses), small 4to, Methuen, [1928]This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
LEWIS (WYNDHAM)Timon of Athens, FIRST EDITION, 16 plates (of which 10 monochrome and 6 in colour), a few light spots or marks, loose as issued in publisher's pictorial printed portfolio wrappers, original ties (one broken, light toning and a few spots to upper cover) [Morrow & Lafourcade A1], folio, Cube Press, [1913]Footnotes:Rare complete set of Wyndham Lewis's Vorticist designs. Originally commissioned by Max Goschen to illustrate an edition of Shakespeare's Timon of Athens, the designs were rejected, whereupon Lewis had them published under the imprint of 'The Cube Press'. The original drawings were shown at the second Post-Impressionist Exhibition held at the Grafton Galleries in 1912.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
WILDE (OSCAR)An Ideal Husband, NUMBER 44 OF 100 LARGE PAPER COPIES SIGNED BY THE AUTHOR, on Dutch hand-made paper, off-setting to endpapers, publisher's decorative lilac cloth gilt designed by Charles Shannon, light soiling [Mason 386], 4to, Leonard Smithers, 1899Footnotes:Provenance: ?Chas. J. Yonge, faded ownership inscription dated 1899 on the half-title; Sotheby's, 17 July 1997, lot 154.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
DARWIN (CHARLES)On the Origin of Species by Means of Natural Selection...Sixth Edition with Additions and Corrections (Eleventh Thousand), half title, embossed publisher's stamp on upper right corner of title, folding diagram, light marginal toning and occasional spotting, publisher's green cloth gilt, spine soiled with small losses at extremities [Freeman 391], 8vo, John Murray, 1872This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
CHURCHILL (WINSTON)Typed letter signed ('Winston S. Churchill') as Prime Minister, to Mrs Martin ('Dear Mrs Martin'), gratefully accepting the gift of a bronze '...treasured by your late Husband, the famous jockey...' and sending a token of his goodwill [not included in the lot], on Downing Street headed paper, bears collection label '393' lower right, one page, light dust-staining, creased particularly at folds, filing hole top left, 4to (244 x 192mm.), 10 Downing Street, Whitehall, 15 October 1954Footnotes:CHURCHILL, THE RACEHORSE OWNER, RECEIVES A GIFT FROM THE WIDOW OF A FAMOUS JOCKEY.Although Churchill grew up with horses and indeed rode in amateur races, he only took up the sport of horseracing as an owner in 1949 when he purchased the French colt, Colonist II, trained by Walter Nightingall: '...In 1951, Clementine Churchill wrote to an old friend, remarking on her husband's peculiar new interest: 'Have you seen his horse Colonist II?....I do think this is a queer new facet in Winston's variegated life'...' (Katherine Thomson, 'Racing to Victory: Winston Churchill & The Lure of the Turf', Finest Hour 102, Spring 1999). Colonist II won or was placed in eighteen of twenty-four races including the Winston Churchill Stakes at Hurst Park in 1951 and the Jockey Club Cup at Newmarket in 1950, and was hugely popular with the general public. After success with Colonist II, Churchill set up his own stud at Chartwell, then at Newchapel in Surrey, enjoying success with some seventy winners including High Hat, son of the great Derby winner Hyperion, and Vienna. Churchill won the Irish 1000 Guineas in 1955 with Dark Issue, but was unable to be attend, explaining 'The General Election was my owner, and I was already entered among the runners'. A highly successful owner and breeder, Churchill only gave up his racing interests the year before he died.The 'famous jockey' in question may have been the American jockey John Henry 'Skeets' Martin (1875-1944), who had a highly successful career in the U.S. and the U.K. Provenance: Private European collection formed by the owner's father some 50 years ago.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
DARWIN (CHARLES)On the Origin of Species by Means of Natural Selection, FIRST EDITION, AUTHOR'S PRESENTATION COPY, inscribed in a secretarial hand 'Dr. Weddell/ Bagnères-de-Bigorre/ from the author' on the front free endpaper, half-title (verso with quotations by Whewell and Bacon only), folding lithographed diagram by W. West, 32pp. publisher's catalogue dated June 1859 bound at end (Freeman's form 3, no priority), light marks and spots on preliminary leaves, occasional light single spots to text, publisher's green cloth, spine gilt (Freeman variant b, no priority), light brown endpapers, corners and spine ends slightly bumped, lower cover with a few minor marks and light small dampstain in upper gutter corner (showing as small v-shaped shadow to lower endpapers) [Freeman 373; Garrison-Morton 220; Norman 593; PMM 344], 8vo, John Murray, 1859Footnotes:FINE COPY OF AN AUTHOR'S PRESENTATION COPY OF THE FIRST EDITION OF 'THE MOST IMPORTANT SINGLE WORK IN SCIENCE' (Dibner), and 'a turning point... in the history of ideas in general' (DSB).Dr H.A. Weddell's name appeared on the manuscript list of persons to receive copies of the first edition of Origin of Species drawn up by Darwin sometime between August and October 1859. Weddell was a distinguished British-born botanist and physician who spent his entire career in France or in the service of France in South America. As early as 1856 Darwin had consulted Weddell's monograph on the Urticaceae 'when he was calculating the number of species and varieties in large and small genera' (Darwin Correspondence, Vol. 8, p.569). DCP cites a letter sent by Weddell to Darwin on 13 May 1863, in which he discusses searching for Ophrys (bee orchids) locally, fertilisation, and other botanical matters suggested by a reading of Darwin's On the Various Contrivances by Which British and Foreign Orchids Are Fertilised by Insects, a copy of which he was sent in 1862.Weddell's death in 1877 opened up a place in the botanical section of the Académie des Sciences. Darwin had twice applied unsuccessfully to be a corresponding member; on 5 August 1878, at last, the secretaries wrote to him inviting him to take up the position left by Weddell (DCP).Provenance: Hugh Algernon Weddell (1819-1877), presentation inscription from the author; Louis Devergne, neat ink ownership inscription on front free endpaper. Presumably this the Louis Devergne (1891-1941), who was archpriest at Loudon, some 40 miles from Poitiers where Weddell had died; private French owner.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
FRENCH REVOLUTION - LOUIS XVIDocument signed and subscribed by the King ('Bon Louis'), and his secretary, ordering Joseph Duruey, Administrator of the Royal Treasure, 2 October 1788, to pay 166,000 livres for his hunting expenses during 'le quartier d'Octobre 1788', one page, printed with manuscript insertions, light dust-staining and creasing, some marks and a few small pin holes, some small tears at folds, lower portion folded for framing, four slits for closure ribbon, remains of old paper on reverse where previously mounted, 4to (307 x 236mm.), Paris, 24 November 1789Footnotes:LOUIS XVI ATTEMPTS TO CLAIM HUNTING EXPENSES DURING THE TURMOIL OF THE FRENCH REVOLUTION: In 1788, the spending of the Royal Household alone made up 13% of total state expenses. By 1789 the country's finances were in disarray and the impoverished people were in uproar over royal profligacy and the King's absolute power. This document is dated just a few weeks after an angry mob marched on the palace of Versailles and Louis XVI and his family were forced to flee on 5 October 1789. They were brought to the Tuileries in Paris where they resided until their attempted escape in June 1791.Provenance: Private European collection formed by the owner's father some 50 years ago.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
MILNE (A.A.)The House at Pooh Corner, light off-setting from jacket flap to free endpapers, dust-jacket (loss to head of spine), [1928]; Now We Are Six, neat ownership inscription ('1927') on front free endpaper, spine ends faded, [1927], FIRST EDITIONS, illustrations by E.H. Shepard, publisher's pictorial cloth gilt, the first mentioned in a dust-jacket, 8vo, Methuen; and 2 further first edition copies of The House at Pooh Corner (4)This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
MILNE (A.A.)The House at Pooh Corner, ONE OF 350 LARGE PAPER COPIES SIGNED BY THE AUTHOR AND ILLUSTRATOR, on hand-made paper, PRESENTATION COPY inscribed on behalf of the publisher 'This is a presentation copy for E.J.G. Webb, Esq.' [copy number crossed through], and with a loosely inserted letter in the same hand sending the book to Webb ('We think you will like to have this for your library', dated 13 October 1928, on Methuen notepaper), illustrations by E.H. Shepard, uncut in publisher's quarter cloth, printed label on upper cover, spine dulled, light soiling to sides, small 4to, Methuen, [1928]Footnotes:Provenance: E.J.G. Webb, presentation inscription on colophon.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
BORGES (JORGE LUIS)El jardin de senderos que se bifurcan, FIRST EDITION, AUTHOR'S PRESENTATION COPY TO VICTORIA OCAMPO, inscribed on half-title 'Para Victoria Ocampo, amiga e colaboradora de esta iniciativa feliz, con todo mi agradecimiento y admiración. Jorge Luis Borges. San Isidro, 1942', a little light browning, one short nick to fore-edge of title, untrimmed and partially unopened in publisher's light blue wrappers printed in white, a little light soiling and creasing towards edges, spine slightly faded but otherwise very good [Becco 29; Loewenstein 355; Vallely], 8vo, Buenos Aires, Editorial Sur, 1942 [colophon: 30 December 1941]Footnotes:'ARGUABLY THE MOST IMPORTANT WORK OF MODERN LATIN AMERICAN LITERATURE': INSCRIBED BY BORGES TO HIS 'COLLABORATOR' VICTORIA OCAMPO, THE DEDICATEE OF THE TITLE STORY AND ONE OF THE FIRST LATIN AMERICAN FEMINISTS.'This is Borges's crucial book, arguably the most important work of modern Latin American literature.... it is easy to forget how original, indeed revolutionary, were Borges's procedures, especially in Latin America, which international modernism had yet to penetrate... The light blue wrappers... seem an unmistakable reference to James Joyce's Shakespeare & Co.. Ulysses... of which Borges proclaimed himself the first hispanic explorer in his callow youth' (Charles Vallely, Jorge Luis Borges. A Catalogue of Unique Books and Manuscripts, Lame Duck Books, 2003).El jardín de senderos que se bifurcan ('The Garden of Forking Paths') was Borges's first collection of short stories, most of which had previously been published by Victoria Ocampo in Sur. Although it was critically lauded, the book failed to win the literary prizes many expected, leading Ocampo to dedicate a large part of the July 1941 issue of Sur to a 'Reparation for Borges'. The eight stories in El jardín, augmented by nine new ones, were then published as 1944's Ficciones, the work that would herald the author's international breakthrough. One of new stories was 'Funes el memorioso', a manuscript of which is included in the present sale.A key figure in Borges's life as far back as 1925, Victoria Ocampo (1890-1979) was an Argentinian writer, publisher, feminist and influential intellectual. She was nominated for the Nobel Prize in Literature in 1970, and is perhaps best known for having founded the most important Latin American literary magazine of the time, Sur, in the 1930s. During the same decade she also developed a close friendship with Virginia Woolf following her involvement in Borges's translations of A Room of One's Own and Orlando, but this ended after Ocampo attempted to persuade the camera-shy author to have her photograph taken. She also radically shifted her political views as the decade progressed. Having shown some initial admiration for Mussolini in Italy, she gave her support to the Republicans in the Spanish Civil War, edited an anti-Nazi magazine during World War II, was the only Argentinian to attend the Nuremberg Trials, and spent time in prison for expressing her anti-Peronist views in 1953.In her later life Ocampo became the first woman to be admitted to the Argentine Academy of Letters, and her many famous friends and guests included Stravinsky, Malraux, Tagore and Graham Greene, who dedicated The Honorary Consul to her. 'Elegant and aristocratic, Ocampo was one of the first Latin American feminists, and fought to uphold the rights of women authors; her 'Letter to Virginia' documents her beliefs' (E. Fishburn & P. Hughes, A Dictionary of Borges, Duckworth, 1990).Provenance: Victoria Ocampo, inscribed to her by Borges on half-title; private collection.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
MILNE (A.A.)Toad of Toad Hall. A Play from Kenneth Grahame's Book 'The Wind in the Willows', NUMBER 56 OF 200 LARGE PAPER COPIES SIGNED BY MILNE AND KENNETH GRAHAME, uncut in publisher's cloth-backed boards, printed label on upper cover (with spare label tipped-in at end), dust-jacket (light spotting and toning, spine ends frayed), small 4to, Methuen, 1929This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
ALBINUS (BERNARD SIEGFRIED)Tables of the Skeleton and Muscles of the Human Body... Translated from the Body [-A Compleat System of the Blood-Vessels and Nerves], 2 parts in 1 vol., first edition in English, large engraved vignette by G. Scotin after N. Blakey on title, 51 engraved plates after Jan Wandelaar and others, lacks title to second part, light dampstaining to title with short marginal tear, a few other light stains, light spotting and off-setting, nineteenth-century cloth, gilt lettered on upper cover, worn [Russell 6; cf. Garrison-Morton 399, first edition], folio 645 x 510mm.), Printed by H. Woodfall, for John and Paul Knapton, 1749[-1750]Footnotes:First edition in English of one of 'the most artistically perfect of anatomical atlases.. Wandelaar placed his skeletons and musclemen against lush ornamental backgrounds to give them the illusion of vitality, using contrasts of mass and light to produce a three-dimensional effect. The most famous plate in the atlas depicts a skeletal figure standing in front of an enormous grazing rhinoceros, sketched by Wandelaar from the specimen which had arrived at Amsterdam zoo in 1741' (Norman).Provenance: Bedford General Infirmary Medical Library, 2 stamps on title-page.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
HOBHOUSE (J.C.)A Journey through Albania, and Other Provinces of Turkey in Europe and Asia to Constantinople, 2 vol., FIRST EDITION, engraved frontispiece and 2 folding double-page maps (one with small tear), 17 hand-coloured aquatints (7 double-page), one plan, 2 plates of facsimile handwriting, 2 plates of sheet music, occasional offsetting and light spotting, calf gilt with ornate roll tooled borders, rebacked, some wear, corners bumped [Atabey 584; Blackmer 821], 4to, James Cawthorn, 1813Footnotes:Provenance: William Rendell Beer, manuscript inscription.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
NAPOLEON BONAPARTEAutograph note of financial calculations, unsigned, in French, comprising 11 lines in pencil, examining Napoleon's financial situation and attempting to calculate his income ('...L.11,258 18 s ont été placés a Londres en 1817... Les intérêsts ont comptés pour 1817, 1818... 28.000 piastres au début qui vallait à 5 FF 8 cts...ont été (prises) achetés en Amerique au 6 pour %... plus de 3/5 plus avantageux que celui de Londres...'), with some additional calculations beneath, bearing collection label '269' lower left corner, one page, 'Magnay Pickering London 1815' watermark, light dust-staining, creased at folds and corners, roughly torn from a larger sheet on right hand side, 4to (245 x 200mm.), [St Helena, ?1818]Footnotes:'LES INTERETS ONT COMPTES POUR 1817, 1818 & 1819': NAPOLEON IN EXILE ON ST HELENA CALCULATES HIS INVESTMENTS.In this rare autograph note, Napoleon swiftly calculates his income whilst on St Helena. Written in his characteristic untidy hand, Napoleon notes that his investments in America out-perform those in London. In London he holds L.11,258 livre, 18 sous, placed in 1817, with a profit of L.630 15s, making a capital of 269.290 FF. The 28.000 piastres which at the beginning were worth 5FF 8cts were bought in America at 6% and performed '...plus de 3/5 plus avantageux que celui de Londres...'. This fund, he adds, is needed for 1817, 1818 and 1819. Napoleon would certainly be described now as an extremely 'high net worth individual'. He had added to an already substantial family inheritance through his marriage to Josephine de Beauharnais, his military and political successes and considerable property ownership, as well as benefiting from confiscated land and assets. As shown here, he was clearly financially astute and invested in banks and the stock market in London and America. Provenance: Private European collection formed by the owner's father some 50 years ago.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
DICKENS (CHARLES)A Christmas Carol. In Prose. Being a Ghost Story of Christmas, FIRST EDITION, FIRST ISSUE, with title-page dated 1843 and printed in red and blue, the text uncorrected, 'Stave I' on p.[1] and light green endpapers, half-title, hand-coloured etched frontispiece and 3 plates after John Leech, 4 wood-engravings by W.J. Linton after Leech in the text, 2pp. advertisements at the end, tissue guards, uneven fading to endpapers, publisher's cinnamon vertically-ribbed cloth, stamped in blind and gilt, g.e., sunned, corners slightly rubbed [Eckel pp.110-115; Smith II:4; William B. Todd, in The Book Collector, Winter 1961, pp.449-454], 12mo (164 x 100mm.), Chapman & Hall, 1843Footnotes:FIRST EDITION OF DICKENS'S FIRST AND MOST ENDURING CHRISTMAS BOOK. A Christmas Carol was published on 19 December 1843, priced at 5s. Dickens initially requested green endpapers but discarded them due to the colour rubbing off. Demand for the book probably grew at such a pace that the stock of yellow endpapers was soon exhausted, necessitating the use of the discarded green endpapers. So although the green endpapers were produced first, the first copies issued had yellow endpapers.William B. Todd concluded that priority was impossible to determine due to the use of different stocks of text and plates, but that priority could be determined by the state of the binding. This is his first impression, first issue, first state, with a gap of 14-15mm. between the closest points of the blind-stamping and gold wreath on the upper cover, and the 'D' of 'Dickens' unbroken.Provenance: Unidentified monogram bookplate inside upper cover; S. Bothemley, ink ownership inscription in upper corner of half-title.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
![BIBLE, IN LATINNovum testamentum [edited by Desiderius Erasmus], woodcut device on title and on last leaf, woodcut historiat](https://cdn.globalauctionplatform.com/0bd63aaa-74ab-480d-abc7-b12c00be1b45/abdc6b2b-4b28-43c0-aedc-b12c00c1031e/468x382.jpg)
BIBLE, IN LATINNovum testamentum [edited by Desiderius Erasmus], woodcut device on title and on last leaf, woodcut historiated initials, light marginal damp-stain and occasional single wormhole, contemporary blind-stamped pigskin with floral motif, roundels with small portraits of Philipp Melanchthon, initials CEH and date (1548) on central panel on upper cover, a few single wormholes, clasps 8vo, Basel, Brylinger, 1543Footnotes:Provenance: Christopher Hardegen, ownership inscription dated 1575; 'Ottini Augustinensis 1795', in ink, with 2 other names struck through, on title; two other ownership inscriptions (1890 and 1901) on front paste-down.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
FARADAY (MICHAEL)Experimental Researches in Electricity (Nineteenth, Twentieth, and Twenty-first Series.)... from the Philsosophical Transactions - Part I. for 1846, AUTHOR'S PRESENTATION COPY, inscribed to '?E. Selby Esq. from the Author' on the title-page, passage on p.62 marked in margin in pencil, contemporary plain stiff wrappers, pencil note saying 'see page 62' on front wrapper, age-soiling, spine defective, vertical crease to cover and contents, 4to, Printed by R. and J.E. Taylor, 1846Footnotes:RARE OFFPRINT OF ARTICLES DEMONSTRATING 'THE FARADAY EFFECT', INSCRIBED BY THE AUTHOR. The three articles, from Faraday's ground-breaking 'Experimental Researches in Electricity' series which helped to demonstrated the link between magnetism and light, here comprise: On the magnetization of light and the illumination of magnetic lines of force; On new magnetic actions, and on the magnetic condition of all matter; On new magnetic actions, and on the magnetic condition of all matter – continued.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
WILDE (OSCAR)Salome. A Tragedy in One Act... With Sixteen Drawings by Aubrey Beardsley, half-title, 16 plates (including titles) after Beardsley printed on Japanese vellum, light off-setting from plate to facing page, publisher's green pictorial green cloth with design by Beardsley on upper cover, t.e.g., mauve chemise and morocco-backed slipcase tooled in gilt on spine (slightly rubbed) [Mason 355], small 4to, John Lane, the Bodley Head, 1907 [but September 1906]Footnotes:Provenance: Frederick Spiegelberg; J.O. Edwards, bookplates; Sotheby's, 19 December 2000, lot 132.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
![NAPOLEON'S LIBRARY ON ST HELENA[MIRABEAU (HONORE GABRIELE RIQUETTI)] Histoire secrète de la Cour de Berlin, ou correspondance](https://cdn.globalauctionplatform.com/0bd63aaa-74ab-480d-abc7-b12c00be1b45/6e4aa3cb-f6c7-4079-8b72-b12c00c1096b/468x382.jpg)
NAPOLEON'S LIBRARY ON ST HELENA[MIRABEAU (HONORE GABRIELE RIQUETTI)] Histoire secrète de la Cour de Berlin, ou correspondance d'un voyageur françois, depuis le 5 juillet 1776 jusqu'au 19 janvier 1787. Ouvrage posthume, 2 vol., NAPOLEON BONAPARTE'S COPY, with his imperial eagle stamp on titles, ownership signature 'Teo. Leigh' and inscription reading 'This work belonged to Napoleon Buonaparte and was in his Library at St. Helena', half-titles, contemporary mottled calf gilt, hinges starting, spine faded, light wear, 8vo (195 x 125mm.), [1789]Footnotes:A BOOK FROM NAPOLEON'S LIBRARY AT LONGWOOD HOUSE ON ST HELENA.After the death of Napoleon the majority of his Longwood library was divided by the executors amongst Napoleon's heirs and friends. The remainder were removed from St Helena by order of the British Government and sold to Martin Bossange, an important French bookseller in London. His rare 1823 catalogue, published as A catalogue of the library of the late Emperor Napoleon, which were removed from the Island of St. Helena, by order of His Majesty's Government, and which were purchased by Martin Bossange, and Co. Foreign Booksellers, offered for sale 228 unpriced books. After almost half of the lots failed to find a buyer, Bossange quickly consigned them to Sotheby's, their sale taking place on Wednesday 23 July 1823. Provenance: Napoleon Bonaparte, St Helena Library, brown imperial eagle ink ownership stamp; Theo[dosia] Leigh Toft (c.1743-1808), signature on half-titles and bookplate; R.G. Leychester (1763-1835, MP for Shaftesbury) of Toft Hall, Knutsford, Cheshire, inscription dated 1850.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
WILDE (OSCAR)The Importance of Being Earnest, FIRST EDITION, NUMBER 92 OF 100 LARGE PAPER COPIES SIGNED BY THE AUTHOR, a few light marks at fore-edge of opening few leaves, off-setting onto front free endpapers, publisher's decorative lilac cloth gilt designed by Charles Shannon, fore-edges of covers with old damp-stains neatly refurbished [Mason 382], 4to, Leonard Smithers, 1899Footnotes:Provenance: Johann & Dora Kruse, bookplate.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
ILLUMINATED MANUSCRIPTDE PAPE (FERDINAND AND CHARLES) Recueil de pieuses prières, ILLUMINATED MANUSCRIPT ON VELLUM, 209 pages (numbered in lower margin), illuminated throughout including title, 33 full-page illuminations, and 264 pages of text, each within elaborate borders of different colours (gold, green, blue, lilac, red and white) filled with flowers, birds, insects and butterflies, the last 12 pages with gold floral corner-pieces left blank for additions, illuminated initials heightened in gold throughout, illumination on p.7 neatly restored, original brown morocco by De Samblanx-Weckesser, covers and spine with blind-stamped floral decoration, green and red inlaid monogram on upper cover, red morocco doublures with all-over pattern of gilt stars, crescent moon and roses, gilt dogtooth border, red watered silk endpapers, leather ties with decorative metal clasps, g.e., contained in original diced roan box with gilt monogram on upper cover (light wear), small 4to (150 x 330mm.); together with a note by Charles de Pape, SIGNED and DATED, 4-page vellum bifolium in brown ink (160 x 120mm.), Bruges, 1908 (2)Footnotes:AN EXQUISITE AND RARE EXAMPLE OF NEO-MEDIEVAL ILLUMINATION. Ferdinand De Pape (1801-1885) was a Belgian painter and foremost representative of the revival of medieval illumination who attained national and international success. Ferdinand described himself as a 'peintre en moijen âge'; and his known works suggest that he drew most of his inspiration from the fifteenth- and sixteenth-century Brugean illumination. Ferdinand worked with his brother François (1814-1863) and later, from 1859, with his son Charles who eventually took over the workshop in 1882 when Ferdinand retired due to his failing eyesight. (see W. Dumond, 'The Bruges Illuminator Ferdinand de Pape', in The Revival of Medieval Illumination, 2007, pp.245-67).No other complete manuscripts have been traced at auction. The only other comparable example is held at the Morgan Library & Museum in New York, MS M.1115, Legende et déscription de la châsse de St. Ursule par Memling à l'hôpital Saint Jean à Bruges.The manuscript offered here was made for 'Monsieur and Madame Norbert Le Gallais-Metz' as is explained in the accompanying note in Pape's note. The manuscript, which celebrated the marriage between Norbert Le Gallais and Juliette Metz, was started as a collaboration between Ferdinand and Charles, and it was eventually finished by Charles in 1908. The 33 full-page fine illuminations depict scenes from the New Testament and various Saints, including St Norbert and St Juliet, who share the first names of the couple the manuscript was made for.ILLUMINATIONS: p.1 Le Gallais coat of arms; p.2 Salvator Mundi; p.4 Virgin Lactans crowned by angels; p.5 Angel musicians; p.6 Donor in prayer; p.7 Donor in prayer; p.8 Annunciation; p.15 St Peter; p.16 Visitation; p.21 St John the Evangelist; p.51 Annunciation to the Shepherds; p.29 St Catherine of Alexandria; p.30 Nativity; p.39 St Paul; p.40 Flight to Egypt; p.47 St Anthony; p.48 Presentation to the Temple; p.64 St Catherine of Alexandria; p.75 St Nicholas; p.76 St Barbara; p.81 St Luke; p.82 Agony in the Garden; p.107 St Mark; p.108 Altar with Host; p.125 St Matthew; p.126 Crucifixion; p.145 Bishop martyr; p.146 St Louis; p.158 Angel musician; p.176 St Francis receiving the stigmata; p.177 Coronation of the Virgin; p.197 St Norbert; p.198 St Juliet.TEXT: pp.9-38 Prières du Matin; pp.41-63 Messe de Mariage; pp.65-83 Exercice Pour la Confession; pp.83-107 Exercice Pour la Communion; pp.109-157 Prières durant la Saincte Messe; pp.160-176 Prières pendant la salut; pp.178-195 Prières du Soir; pp.194-209 Souvenirs de Famille LGM.The fine binding is by the Belgian master craftsman Charles de Samblancx [or Samblanx] (1855-1943), who began his binding career at age 11, as an apprentice to Coppens. He worked in partnership with the gilder Jacques Weckesser from 1889 to 1909. Samblancx worked in a variety of period styles, masterfully reproducing the bindings of previous centuries.Provenance: Norbert Le Gallais (1860-1934) and Juliette Metz; by descent to the present owner.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
KELMSCOTT PRESSRUSKIN (JOHN) The Nature of Gothic: A Chapter of The Stones of Venice, LIMITED TO 500 COPIES, first page of text within wide floral woodcut border, woodcut illustrations and initials, woodcut printer's device, original stiff vellum with yapp edges, gilt lettering on spine, light staining mostly at head of spine, original ties detached but loosely inserted [not in Peterson], small 4to (210 x 150mm.), Hammersmith, Kelmscott Press, 1892This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
SUFFRAGE HANDKERCHIEFSatirical handkerchief titled 'Women's rights and what came of it '1981'', depicting women of the future fulfilling traditional male roles such as Politics, Science, Law, the Army, Navy and Police, a group of men doing the laundry ('Now we're busy') and a group of 'Frozen Out M.D.'s' complaining 'We've got no work to do-o-o', printed in black on fine cotton, registered number 364805, in fine condition, one or two small marks, 610 x 545mm. [1881]Footnotes:THE CONSEQUENCES OF ALLOWING WOMEN THE VOTE.This satirical handkerchief warns of what life would be like in 100 years if women were given equal rights, predicting the unconceivable possibility of women working in traditionally male roles, and showing a future where men are forced to (somewhat haplessly) undertake roles previously the preserve of women. The design '...contains all the tropes – the embodiment of light-hearted, but deeply-rooted prejudice – that are now so familiar to us through the comic postcards that were produced in response to the suffragette campaign in the years before the First World War...' (Elizabeth Crawford, Women and Her Sphere blog, September 2015). The design number was registered on 7 May 1881 by Carslaw & Henderson, fabric manufacturers, of 68 Gordon Street, Glasgow (Museum of London website).It is thought by the family that this suffrage handkerchief may have been given as a gift to the vendor's great grandmother Emma Laming Shepherd (1855-1930) possibly on her marriage to William Tombs (1858-1942) in August 1881. Three generations of the vendor's family were in service to the households of Richard Attlee (1795-1873) and his son Henry (1842-1908), and were held in high regard. Emma was the illegitimate child of Martha Laming, who held the position of maid with the Attlees and she, in her turn, was taken on as nursemaid to the Attlee children and is listed as part of the household in the 1881 census. On her marriage, it is believed that the Attlees gave her a house in Clapham Park, London so she could support herself by taking in lodgers. Her daughter Cecilia also worked for the family as lady's maid and was a childhood friend of the future Prime Minister, Clement Attlee.Provenance: Emma Laming Shepherd (1855-1930); thence by descent.For further information on this lot please visit Bonhams.com
ROSSETTI (CHRISTINA)The Poetical Works... With Memoir and Notes &c. by William Michael Rossetti, EDITOR'S PRESENTATION COPY, with an autograph note 'Presented to Miss Lisa Wilson 'my Fior-di-lisa' of Christina's little poem with affectionate regard by W.M. Rossetti Jan. 1904' on paper headed '3 St. Edmund's Terrace...' pasted on front free endpaper, chemise made from embroidered fabric, Macmillan, 1904; For Remembrance. Daily Selections from the Poems of Christina Rossetti. Compiled by Frances Maclean. With a Preface by Lisa Wilson, EDITOR'S PRESENTATION COPY, inscribed to Lisa Wilson (who wrote the preface) 'Lisa from Frances. Dec. 5 1913' above 2-line poetry quotation, annotated by Wilson in margins with the names and dates of friends (i.e. 'Christina 1894' beside the poem for 29 December), Winchester, Warren & Son, and London, Simpkin & Co., [1913]; Sing-Song. A Nursery Rhyme Book... illustrations by Arthur Hughes, inscribed by Lisa Wilson 'Christina Maude Evelyn Corkran with her Godmother's love, Feb 24th 1903', Macmillan, 1893; Speaking Likenesses... with Pictures Thereof by Arthur Hughes, FIRST EDITION, Lisa Wilson's copy inscribed 'Lisa from Jessie, Christmas 1883' on front free endpaper, spine soiled, Macmillan, 1874--ROSSETTI (DANTE GABRIEL) Ballads, PRESENTATION COPY FROM W.M. ROSSETTI, inscribed 'To Miss Lisa Wilson with best regards W.M. Rossetti, Novr. 1899', Ellis & Elvey, 1899--Of the Imitation of Christ... New Edition, PRESENTATION COPY FROM CHRISTINA TO WILLIAM MICHAEL ROSSETTI, inscribed in William's hand 'W.M. Rossetti from Christina 1890' inside upper cover, 3 CUT SIGNATURES OF CHRISTINA ROSSETTI, a 2-page note probably by Maria Rossetti and photograph of her loosely inserted, lacks front free endpaper, contemporary half calf, rubbed, Oxford, J.H. Parker, 1845--WILSON (LISA) Verses, FIRST EDITION, AUTHOR'S PRESENTATION COPY, inscribed 'Maude Corkran from Lisa Wilson with her love, Oct. 12. 1900', sprig of leaves loosely inserted (resulting in light off-setting to 2 pages), Bliss, Sands & Co., 1896--BELL (MACKENZIE) Christina Rossetti. A Biographical and Critical Study, FIRST EDITION, presentation copy with note 'To Miss Lisa Wilson with the good wishes of her friend Mackenzie Bell, Jan 1898' pasted onto the half-title, FLOWERS FROM THE WREATH PLACED ON CHRISTINA'S COFFIN loosely inserted within paper wallet folder inscribed by Lisa Wilson 'Flowers & leaves from the wreath which was laid on my beloved Christina's coffin, and buried with her - Jan 2 1892 - Highgate', a postcard from Mary Rossetti to Lisa Wilson (29 December 1930), a 4-page programme for a dedication service for the Memorial of Christina Rossetti held at Christ Church, Woburn Square on 1 November 1898, and a couple of other items loosely inserted, 2 small pencil annotations by Wilson, Hurst and Blackett, 1898--SANDARS (MARY F.) The Life of Christina Rossetti, FIRST EDITION, AUTHOR'S PRESENTATION COPY, inscribed 'To Miss Lisa Wilson with many thanks for her kind help from Mary F. Sanders, Oct. 10 1930' on the half-title, 3 autograph letters signed by the author to Wilson (12 pages, dated between August to September 1930, discussing the book) loosely inserted, APPROXIMATELY 25 PENCIL ANNOTATIONS AND CORRECTIONS BY LISA WILSON in the margins, Hutchinson, 1930, 8vo; and 13 others, biographies and reference works about Christina Rossetti, including the 4-volume Letters, works inscribed by Jan Marsh and Diane D'Amico, and 3 with the ownership inscription of Lisa Wilson (22)Footnotes:'SHE WOULD NOT HEAR OF FATE!': A group of books by, about and associated with Christina Rossetti belonging to Lisa Wilson, her closest friend in later years, and as her brother William Michael Rossetti notes in one of the volumes, 'the Fior-de-Lisa of Christina's little poem'. Two books are inscribed by William Michael, another has 3 cut signatures by Christina loosely inserted, whilst a third has dried flowers taken from the wreath laid upon her coffin. Christina Rossetti died on 29 December 1894 and Lisa was one of only a handful of guests accompanying the burial party on a snowy day at Highgate Cemetery on 2 January 1895, following a ceremony during which two hymns by Christina were sung. Also between the pages of this book can be found an order of service for Rossetti's memorial service on 1 November 1898. The editor of Rossetti's letters notes that in the last years of her life she was more aware of her growing fame and even joked to her brother William Michael that an annotated copy of Sing-Song would one day be 'priceless', warning him not to disperse her library without looking carefully for inscriptions (Antony H. Harrison, ed., The Letters of Christina Rossetti, Vol. 4: 1887-1894, 2004, xii). Lisa Wilson was consulted by Christina's early biographers, including Mackenzie Bell and Mary F. Sanders, in whose book Lisa has made some 25 revealing comments, such as 'Horrid', 'But she believe in the infinite mercy of God', 'I am sure she never thought this', and 'She would not hear of Fate!'. To Sanders' statement that Lisa was her 'most intimate friend to whom she poured out all her thoughts', Lisa responds tartly 'her thoughts were only poured out to her God'. As Lisa and Christina's correspondence was destroyed, these notes form a rare insight into their relationship. Provenance: Mary Louisa 'Lisa' Wilson (1850-1934, poet, artist and friend of Christina Rossetti); her god-daughter Christina Maude Evelyn Corkran (1903-1979); thence by descent.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
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